We had the privilege of witnessing Adva Drori’s work process at the Be’eri Gallery for an entire week, during which she stayed at the kibbutz and worked in the gallery alongside her partner, Ido. The felting process on the gallery floor struck me as a metaphor for personal growth and development—from the soft, pure, optimistic, childlike stage to the phases of maturation: becoming rougher, scarred, wounded, hardened, and adapting to a harsher environment. At the start of the process, there was much preparation: cleaning, spreading out plastic sheets and fabrics as a base for the work. Then, with infinite patience, thin, soft layers of natural white sheep wool were laid out, criss crossing each other. The artist, sitting cross-legged in the middle of this vast white expanse (a breathtaking sight!), meticulously wove the fibers until they reached several centimeters in height. Only then did she add pieces of wool dyed in various colors, which formed the shapes and images on the white surface. Thin, transparent fabrics were spread over everything for protection, and the felting process began, involving the compression and bonding of the wool layers with copious amounts of water and natural olive oil soap. To secure the work, it had to be thoroughly stomped on, and so we called upon the members of Kibbutz Be’eri for help. They spontaneously joined in on the Saturday following Passover—adults, teenagers, and children rolled up their pants and took off their shoes, coming together for a communal stomping celebration. After the stomping came the wringing with a press, rolling to remove excess water, and washing in the kibbutz's large industrial machine to shrink the fibers. The shrinking and bonding of the fibers is a crucial step in the process. (I pause here to mention cleaning—according to Adva Drori's terminology, dirt and cleanliness are always linked to the psyche. In practice, she dedicates significant time in her work to cleaning and rinsing with water, meticulously scrubbing the gallery and cleaning every surface, with her partner Ido working alongside her.) Afterward, the work was laid out to dry in the spring sunshine, forming a tough, rough layer, almost like skin. This is the felt. A fascinating process that begins with soft, delicate wool and ends with stiff felt, having undergone many stages. This procedural approach has characterized Adva Drori’s art from the beginning of her career to the present day. Her art has a long breath to it—she engages in personal biographical exploration. A significant element in her creative process is the "breathing" into these biographical materials, breathing into the psychological wound, creating a flow of searching, wondering, and awakening. The awakening to personal biographical wounds and the connections she draws between them, the wounds of the kibbutz society she grew up in, and the national wounds of the State of Israel—all of these combine to create a more complete artistic experience. The exhibition *"To Be Worthy – Past, Present, and Future"* at Be’eri closes a circle of four exhibitions, for each of which Adva Drori prepared a large felt work. In the first work of the series, "Child" from the Digital Institute in Holon (2011), and in the work "Red Child" (2013) for her exhibition in Rishon LeZion, a small girl in a white dress is depicted in a large, dark space, with a red scream "dripping" from her mouth and fingers, spread out as if in a crucifixion or an assault. In the third work of the series, *"The Queen Came to the King,"* from her exhibition at Zadik Gallery (2015), a young girl is shown in a dance pose, moving lightly toward the viewer with a yellow crown on her head. The atmosphere is optimistic, joyful. In her latest work, *"To Be Worthy,"* created especially for the Be’eri Gallery (2015), a couple—boy and girl, prince and princess—appear for the first time, arranged in a mirrored structure, like playing cards. Finally, the girl feels worthy of a partnership, having come to terms with herself after a long and arduous process. She closes the circle, from girl to mature woman, from loneliness to a life of partnership. This is also the first time Adva Drori has worked on a piece in collaboration with another person. Until now, she always worked alone, as she mentioned. The poetic texts embroidered on the fabrics hanging on the gallery walls were written over the past year and a half. These are love poems Adva wrote to her partner, expressing her transition to a new phase in both her life and her art. For Adva, her stay at Kibbutz Be’eri while working on the exhibition was a significant part of the process, in the context of her past as a kibbutz member and child. She returns to the discourse around the kibbutz from a new place, stronger and more mature than ever, with fresh insights from her personal journey of growth and development. This is an exhibition of reconciliation and acceptance of past pains, embracing her complete self in the present, and looking toward the future with light. The once quiet, disappearing little girl is now given a prominent place to voice her feelings—her loneliness, her pain, and her joy. And there is much joy and a reconciled smile in the space. Ziva Yelin Curator, Be’eri Gallery 2011, Holon Institute of Technology, curated by Idit Porat. The "Life Stories" project, in collaboration with women from the Jesse Cohen neighborhood in Holon. 2013, Beit Kaner, Municipal Gallery of Rishon LeZion, curated by Effi Gan, "Red Child" 2015, Zadik Gallery in Jaffa, curated by Hanna Koman, "The Queen Came to the King". The title is inspired by a poem by Nurit Zarchi.